If you’re interested in finding me out and about on the big wide internet…
Choosing Days to Die — Outer Reaches Magazine, Winter 2010
Finally Never Again — Niteblade, March 2010
Progress — Menda City Review, March 2010
Hourglass — Tales of the Zombie War, April 2010 (Second Place Winner)
Take Apart Their Nightmares — Scape Zine, April 2012
5¢ Buys the Future — Menda City Review, Summer 2012
Icarus — Doctor Fantastique’s Show of Wonders, July 2012
The Girl Who Interviewed Wolf — Nine, September 2012
Remembering the Days That Hurt Us — Kaleidotrope, Winter 2013
The Minutiae of Being Dead — Andromeda Spaceways Inflight Magazine, #57
Never — Menda City Review, Summer 2013
Dead on Arrival — Eggplant Literary Productions, February 2013
Baby, I have no idea how this will end.~ Andrea Gibson (via levityoflonging)
Maybe the equator will fall like a hula hoop on the Earth’s hips
and our lips will freeze mid-kiss on our 80th anniversary,
or maybe tomorrow, my absolute insanity combined with
the absolute obstacle course of your communication skills
will leave us like a love letter in a landfill—but whatever, however,
whenever this ends, I want you to know that right now,
I love you forever.
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
I was just thinking about Japanese plot structure today. Couldn’t remember the name of it for the life of me. I’ve used it in short story I rather like. Doubt I’ll sell it this side of the ocean, but I’m fond of it.
I had the lonely child’s habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life.~ Why I Write, George Orwell (via songofiaras)
For some years he was quite happy and did not worry much about the future. But half unknown to himself the regret that he had not gone with Bilbo was steadily growing.~ J.R.R. Tolkien, The Fellowship of the Ring (via glorfinn)
He found himself wondering at times, especially in the autumn, about the wild lands, and strange visions of mountains that he had never seen came into his dreams. He began to say to himself : “Perhaps I shall cross the River myself one day.” To which the other half of his mind always replied : “Not yet.
Here you go, guys. My first published story of 2013, about a disabled Necromage trying to overcome his PTSD. Please, clicky the link. Share the link. Get your friends to share the link. Support Kaleidotrope. It’s free. It’s awesome. Fred Coppersmith pays the authors out of his own pocket. Help the guy out and clicky the link.
Here, a man seated at a table in the corner. Three heavy glasses — ale nesting the bottoms. His leg jogs away without him and the uneven table rocks. The light behind his unseeing eyes throbs, swelling out his corners in time to the heartbeat of the sky.
His name is Doe now. His name is Guy and Buddy and Mister. His name is Hey-You and totally, forgivably unimportant.
The small ocean in his glass crashes in his ears. He drinks to stop the salt from drying on his tongue, caking closed his lips. Some great tragedy waits behind him on a distant shore.
He’s been lost a long time before this moment.
[Parents should] recommend some books with female leads that your son would enjoy reading. If your next question is “Why?,” then ask your daughter why she liked Harry Potter. She might say it was a good story, great characters, and a fantastic world. Who cares if the main character was a boy? In fact, girls will pick up a book with a hero or heroine equally. According to my excellent librarian resources, boys will actively avoid books with a girl as the main character. What’s the problem? I have no idea. Why should you encourage your son to read books with heroines? That’s easy. You want your son to grow up knowing that a strong female for a friend, wife or boss is normal and good.~ Rebecca Angel (via lesilencieux)
Note: this post was originally made in 2010 in response to Diana Gabaldon’s epic rant about fanfiction. The original version is still being updated. I’m reposting it to Tumblr by request, but if you have any additions, please feel free to drop a comment at LJ so they can be added to the masterpost!
Dear Author of the Week,
You think fanfic is a personal affront to the many hours you’ve spent carefully crafting your characters. You think fanfic is “immoral and illegal.” You think fanfiction is just plagiarism. You think fanfiction is cheating. You think fanfic is for people who are too stupid/lazy/unimaginative to write stories of their own. You think there are exceptions for people who write published derivative works as part of a brand or franchise, because they’re clearly only doing it because they have to. You’re personally traumatized by the idea that someone else could look at your characters and decide that you did it wrong and they need to fix it/add original characters to your universe/send your characters to the moon/Japan/their hometown. You think all fanfic is basically porn. You’re revolted by the very idea that fic writers think what they do is legitimate.
We get it.
Congratulations! You’ve just summarily dismissed as criminal, immoral, and unimaginative each of the following Pulitzer Prize-winning writers and works: